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Poster: Cliff Hucker Date: Dec 3, 2008 2:13pm
Forum: GratefulDead Subject: Re: ... and speaking of Historic Dead,

You know the DL series, the sound quality is uniformly PERFECT, and these shows are typically solid and very well played, but with the exception of #6, I dont think they are "must-haves"

That said, they are all worth having. I rated #12 (4/17/69) 97 pts, and you should definately get it for the top notch en suite jamming. As for #2 (2/18/70), less essential, but still worthy (96 pts) for Mason's, etc.

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Poster: cream-puff-war Date: Dec 4, 2008 5:17am
Forum: GratefulDead Subject: Re: ... and speaking of Historic Dead: 1964 J.Garcia/P.P./B.Weir > January 10, 1970 link & commentary, revised edition!

thanks kindly Cliff and Light for the ratings - I'll go ahead and get the vol. 12 from April '69 today, and get the vol. 2 Jan. '70 next week.

I'm interested in hearing full GD sets from as recent as 1970.
1970 was a full 5 years after the Grateful Dead started, and since at least 1967 at the Ballrooms they were already a major influence on the music scene at the same time Dylan & back-ups i/e. The Band/Byrds/Beach Boys/Doors/Creedence/Turtles/Lovin' Spoonful/Supremes/Paul Revere & The Raiders/Monkees/Jefferson Airplane/Mamas & Papas - potential contenders besides the Dead for consideration of being the great American rock and roll band (if there is such a thing).

Since you've pointed out Vol. 2 of the download series while not the blast vol 6 is, still it's not too shabby a show.
1970 GD is starting to stir my brain pan again. At the bottom of this post, the 1964 Dead related poster is a link to a 1970 Grateful Dead show I attended, reviewed on LMA and am listening to right now.
Music never stops, never dies, and lasts virtually forever if it's been recorded.
So there You go, Pigpen.
Play your geet-tar, Mr. Garcia.



1970 offers some truly fine peaks and is perhaps the last year the GD were solidly psychedelic in the old school cryptical sense.
Yet veblen is right, they were shedding their acid roots for their acoustic roots taking a cue from The Byrds, Dylan's Band and others who had already dumped psychedelia for country music in 1969 and 1968.

The writing was on the wall.
The Beatles and The Stones dabbled in that genre in 1969 on singles such as "Get Back" and
"Honky Tonk Women" which were influenced by Dylan's John Wesley Harding and The Band's Big Pink and don't forget extent, Johnny Cash and June Carter, The Everly Brothers - very influential!
The Byrds, Buffalo Springfield, The Beau Brummels, Mike Nesmith of the Monkees - "Last Train To Clarksville" may have started the whole country rock trend - it was a huge hit in '66;
Creedence, Merle Haggard, Hank Snow, Loretta Lynn, Mrs. Miller, Roger Miller, Ray Charles, Elvis, and many other stars of Grand Ol' Opry
The Dead had already started heading towards country on Aoxomoxoa, but couldn't get away from the effects offered by 16 track and go pure unadulterated country just yet.

Workingman's Dead would finally usher that era in, without the sweetening of phase, reverb, feedback, and all those weird effects that their broadening audience in mid-America didn't turn to when they tripped, or not nearly as much as city people did, being used to artificial enviornments.

So the Grateful Dead were changing from paisley to plaid...
1970 was St. Stephen's last hurrah, as far as StSt being played at top volume, with the breakneck tempo changes and thunderous riffs following the water faucet filigree, the main riff was still banged out fast and loud not unlike "Honky Tonk Women"; as last heard on Garcia's Les Paul.

They progressed and developed to an amazing degree starting in 1972, you name it;
I give you that they unquestionably improved on many levels and undoubtedly whether one likes that style or not,
they crossed unbelievable musical genres few could have imagined that the Grateful Dead would do, as we sat (stand up!) back in what, 1967...

'67 kick started their rush to fame regardless of not having hit records, which they didn't need unlike every other successful act of that time, because of their quintessential Summer of Love name, which became a lyric in a #1 hit song taken from the #1 Broadway musical that broke more hygiene boundries than Tiny Tim ever thought about with HAIR!

Also appearing in a big name Hollywood movie (George C. Scott starred) that was soon forgotten except by a few '68 Dead diggers like me and WT maybe, the box office hits in '60s Hollywood lasted a week or two and memories of them not even half that, because most of those campy send-ups such as Candy, Batman (the movie), Harper, Casino Royale, Elvis Presley movies, 007 with Roger Moore, Matt Helms with Dean Martin, so by those standards Petulia featuring cameos and a song performed by Grateful Dead plus Big Brother with Janis belting out "Roadblock" in the lobby of a 4 Star Hotel, where diamonds and furs were considered hippie threads - got the Dead got famous than their brainiac record producer ever could.
The Dead got big comin' thru the back door, without appearing or starring on TV shows besides news programs - which means they were famous for their busts, not for being regulars on Ed Sullivan or The Hollywood Palace - both of which featured Janis Joplin.
The GD somehow skipped all that, except for one variety show, and how many people actually saw them at the time on Playboy After Dark is presumably very small.
Plus no top 40 hits; yet hip kids loved 'em.

They were featured in a top selling book, The Electric Koolaid Acid Test...
All in all, that's some cool clout... to get famous if not rich for just doing whatever thay felt like!

I will always think of them as a '60s band, in part for the sheer youthful physical energy they (in their '20s) put out while performing on stage when they had the bull by the horns at their best shows in the late '60s.
Many of which are not taped.
That's again why the surviving film footage from the '60s is part of the archive, because some film is all that survives where neither audience or soundboard audio tape is available.
And it's exciting to watch if you like the band at all.
I mean, Garcia would dance, jump, bob and weave... he was something to see, as much as Pigpen was... Bob could barely keep up with his chin doing duck movements!

They certainly didn't stop the show because little cream puff wanted them to rock out as hard as they did in '67, or psych out as they did at thje Acid Tests of '65/'66 but with Anthem of the Sun '68 assurance and power. Pure energy!

CPW wanted to hear them come on like local color and casually talk and joke with people on the dance floor just like they used to, when audiences were mellow and not prone to psychotic associations if Jerry "spoke" to them.

For whatever reason they clammed up on stage after '70.

If they talked to a stranger or friend(s) in the crowd in late 1970 or even early '71,
the worst that could happen was maybe an outbreak the "sit down" vs. stand up" ho-ho cupcake battles near the stage that no one really took seriously, and which ended after a few half-assed rallies between the eager and the laid back patchoulie drenched smirkers.


Plus Bob Weir's usual "Stand on yer heads" advice along with Jerry's "There's nothin' ta see!" rejoinder that deflated the creme-filled eclairion demands for sientase...

I also recall lots of times they'd finish a song - up until late '70, roughly just prior to their good time cowboy giddy-up '71 breakout phase, when their fans doubled in size for the first time I was aware of...

Mainly on a Thursday or Sunday with the Carousel getting lighter attendence, the stage front area was easy to walk up to before their set started, and by mid-set people rarely broke the spell by interjecting whoops, hollars and conditioned response...
unless spoken to by Garcia, Pig or Bobby directly, with permission to scream "Owww!" ok?


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This post was modified by cream-puff-war on 2008-12-04 09:51:07

This post was modified by cream-puff-war on 2008-12-04 12:05:12

This post was modified by cream-puff-war on 2008-12-04 13:17:00